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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Epixa...

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  • #41
Well if you shoot 4:4:4 Log-C on the Alexa you still have to transcode for most editorial workflows.
As far as the full frame deal, in 4K 16:9 there is only a very slight letterboxing top and bottom (same as 1.85) on the clean SDI feed.
I don't find it a problem but if necessary a 7% push in is all that's needed to eliminate it and it's invisible at 1080P.
The shows I work with routinely push in 25% for reframing on 1080P for broadcast.

Of course I also feel this is a convienent way to get offline files, the final show should be conformed/DI from the R3Ds unless you're just going to web.
 
I find a lot of this hew and cry about how the PIX240 generated ProRes or DNxHD files suffer from some quality issues kind of silly. Color sub-sampling, scaling, oh the horror ;-O...

It simple, for best image quality use the PIX media for offline and finish from the R3Ds. For speed at the expense of max IQ, use the ProRes or DNxHD files as hero media.

Cheers - #19
 
Evin Grant said:
Here is a fully operational Epixa (Epic+Pix 240) shooting rig that I built for a little test...
Epixa.jpg

EpixaCU.jpg


Cute huh? It's got prores/DNX-HD on board and is about the same size as a stock Alexa :001_tt2:
I like how the pix is still in the silhouette of the Epic, even the cables are well controlled and everything is powered by the Switronics AB battery.
It just uses a slightly modified Zacuto rail piece to connect the pix, very solid too, no problem for handheld etc.
If you wan to shoot proxy files or just plain old prores here's a great all in one solution.
Click to expand...

Evin,
How did you mount the PIX with the top rod system?
 
Evin Grant said:
Well if you shoot 4:4:4 Log-C on the Alexa you still have to transcode for most editorial workflows.
As far as the full frame deal, in 4K 16:9 there is only a very slight letterboxing top and bottom (same as 1.85) on the clean SDI feed.
I don't find it a problem but if necessary a 7% push in is all that's needed to eliminate it and it's invisible at 1080P.
The shows I work with routinely push in 25% for reframing on 1080P for broadcast.

Of course I also feel this is a convienent way to get offline files, the final show should be conformed/DI from the R3Ds unless you're just going to web.
Click to expand...

Why the letter boxing if its 4k 16 x 9 ?
 
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  • #45
Evin, love those pics of your camera on the junior stand. What gack specifically did you use to go from junior female to a 3/8" screw that you could attach the camera with? It looks like you dont have any tripod head on it, so how did you tilt down? Really love this idea, I hope to do the same thing in a shoot this summer.
 
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